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Volume 1 2 

Number 4 



With a Song in our Hearts 
Movable Book Society 5 tb Conference 

Ellen G.K. Rubin 
Scarsdale, New York 

And the song, from beginning to end, 
I found in the heart of a friend. 

Thursday, Sept 3, 2004 

Melody or harmony we have found "the song" that has 
unified us; one that vocalizes our passion for pop-up and 
movable books. We have become a chorus, all singing our 
parts. In San Diego at the end of September we gathered 
to celebrate the Movable Book Society's 10* Anniversary. 
This conference was the best attended ever and that augurs 
well for our future. 

As is our tradition - this being our 5 th meeting, we can 
now talk in terms of traditions - the conference was 
centered on an exhibition. In San Diego, it was Stand and 
Deliver: Engineering Sculpture into a Book Format, 
curated by our own Ed Hutchins of Editions, and 
sponsored by the Brookfield (CT) Craft Center and the 
Movable Book Society. Fifty-two spectacularly unique 
books were chosen from over 150 submissions, each with 
movable parts. That first evening, we left the Hilton 
Gaslamp Quarter, piled into the bus and van, and headed 
out to the Mesa College Art Gallery, which hosted the 
exhibition. The small room of the gallery was a maze of 
tables covered edge to edge with books. Those who were 
too warm in the close quarters enjoyed the refreshments 
and the camaraderie of fellow conventioneers and Mesa 
College students and faculty who joined us. 

Like a chorus of frogs, individual voices were 
homogenized while exclaiming this book or that. Still, as 
I walked around the tables, I heard: 

Matthew Reinhart on Shawn Sheehy's stickleback fish 
in Welcome to the Neighborhood - "What a movement! 
Super job!" 

Kelly Houle's honest response to the accolades for her 
amazing first pop-up book, Why is a Raven Like a Writing 
Desk? (a riddle asked in Alice in Wonderland) - "I stole 
from everybody." 

Continued on page 2 

Frankfurt Book Fair 2004: Part I 

Theo Gielen 
The Netherlands 

How strange and contradictory the world in can 
sometimes be. That was shown at this year's Frankfurt Book 
Fair. Since "The Arab World" was the special theme of the 
fair and the whole of the Arab nations were the guests of 
honor in both the fair and the city of Frankfurt, we never 
saw such severe measures to ensure that certain parts of that 
same world wouldn't attend the fair! As a result, your 
reporter had to identify himself several times a day, had to 
be registered before making use of a locker for his books and 
catalogs, and had to carry the full weight of all this again 
every evening to his overnight address since the lockers had 
to be emptied before 6:30 each evening. Besides, his bag was 
controlled at every entrance of the halls and so he had to 
suffer the compassionate glances of muscular, macho men 
and super women of security who at every occasion 
discovered new information about or copies of movable and 
pop-up books. But he was not intimidated by all this 
humiliation nor did he grow paranoid! After a couple of days 
he succeeded in regaining the respect of a gentleman by 
hiding the most explosive pop-up information in the double 
bottom of his bag and smuggled the books put aside in the 
back of his belt. From then on there were at the top of his 
bag only very complicated looking calculations that 
impressed security people. 

He even counterattacked and disarranged the security 
gates simply by going through them with some of the novelty 
books that have magnetic pieces to play with...! And again, 
and again. For he had a mission: to report the readers of the 
Movable Stationery the new movable and three-dimensional 
products that were shown by over 7,000 publishers attending 
the fair from of all over the world. And for that he needed 
documentation, not compassionate glances. 

Safe back home again 1 have tried to survey all I saw and 
heard and will write it down in this, my contribution. For 
there were a lot of new items to admire, concepts to be 
explained, and advice to be given of what might be 
interesting to the collectors of the special kind of books we 
love together. 

Continued on page 15 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of the 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for the society is $20. 00. For more 
information contact: Ann Montanaro, Movable Book 
Society, P.O. Box 11654, New Brunswick, New Jersey 
08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 

e-mail: montanara.rci. rutgers. edu 

Fax: 732-445-5888 

The deadline for the next issue is February 15. 

With a Song in our Hearts, continued from page I 

Kyle Olmon's reciting an anagram for 
"bookmaker - OK. I am broke." 

Books took every form imaginable from a baby's shoe 
to an iron to a ukulele (about and from which you'll hear 
more later). There were awards for the best books in six 
categories chosen by noted paper engineers, such as 
Robert Sabuda and Hedi Kyle. Ed hosted a melange of 
book artists who described their processes and intent in 
the books they offered the exhibit. The catalog is a 
treasure all should own (contact Ed Hutchins at with pop-up, pop-outs (thanks to 
Kyle Olmon) and a gloriously interactive CD-Rom of the 

Friday, October I 

Our first full day dawned bright and beautiful. 
(Of course! We were in San Diego!) Frank Gagliardi 
took the podium as our host for the conference. Frank, a 
librarian, talked briefly about his collection of catalogs 
from pop-up exhibitions. He handed out a list of catalogs 
he owns, asked for others we may know of, and 
highlighted the Yale catalog of Eccentric Books from 
1988 that had a pop-up dinosaur. (This is the exhibition 
that jettisoned my own collecting habit.) Frank spoke 
sadly of the losses our pop-up world had experienced 
since the last conference with the deaths of Barbara 
Valenta, Jim Sinski, Guillermo Ilolguin, and John 

The first speaker of the day was Adie Pena, one 
of "The Gang of Seven," who worked on the Movable 
Book Society's Celebration book, first conceived at the 
Milwaukee Conference. Adie began his PowerPoint 
presentation with an Alice in Wonderland quote, "What 
is the use of a book without pictures and conversation?" 

Adie Pena 

He scrolled and 
read many of the emails 
written by "The Gang" 
(Robert Sabuda, Adie, 
Ann Montanaro, Andy 
Baron, Larry Seidman, 
Jessica DuLong, and 
yours truly), emails that 
had shot around the world 
over the course of two 
years. (Robert and I cringed in the back of the room 
fearing to see emails we thought would never see the 
light of day.) The chronological arrangement and sheer 
quantity of correspondence gave a clear picture of the 
enormity of this undertaking. The messages highlighted 
the roles members played in the effort. Robert (as in 
Robert's Rules of Order) kept calling for "the virtual 
vote" to ensure a timely consensus on the multitude of 
decisions, e.g., how many spreads, how many pop-ups, 
which paper engineers, titles, colors, etc. [He 
was]"breathing down our necks," Adie sighed. Andy 
obsessed over the details, such as where to put the iong 
string-tabs of the Nister spread when the book is packed. 
Jessica DuLong, our young but very able editor, 
"whipped everyone in line" insisting on our adhering to 
deadlines. (Imagine that!) Somehow, 1 was "the comic 
foil" pointing out various options along the way and 
exclaiming, since I hate the color pink, my biography of 
Kubasta should not be on pink paper, especially since 
Kubasta wore a clashing orange shirt in the photo! With 
the deadline clock running on fast, the final graphic 
design fell to Adie. (I admit here to have lost focus when 
the emails talked heavily of die-lines, colors, font size, 
etc.) Andy working in his studio with Kyle logged over 
300 hours on the project. Robert's and Adie's studios put 
in similar efforts. Adie spoke of dealing with the book's 
"kilometric" title of 16 words (A Celebration of Pop-up 
and Movable Books: Commemorating the I Oth 
Anniversary of the Movable Book Society) and trying to 
"unify the book with the font." Ann had insisted that 
certain words be in the title for librarians to search. 

A "glorious" moment arrived when Adie 
received the white dummy. With the aid of PowerPoint, 
Adie let us see it has he had, opening each spread 
slowly. The presentation was set to the uplifting music 
of Ravel's Bolero. We "oohed" and "aahed," 
experiencing what Adie had experienced, a tangible 
culmination of months of work by many hands over 
great distances. Adie ended his talk by also referring to 
the paper engineers we had lost recently and suggested 
that we not stop at "Celebration" but move on to 
"Continuation." We silentlv let him end on that note. 

Paul Wehr with 

Movable Book Society member 

Maria Winkler 

The next 
lecture was a love 
song if there ever 
was one. "Love's 
Animation: The 
Books of Julian 
Wehr," was given 
by Paul Wehr, 
Julian Wehr's 
middle child. Paul, 
a professor 
emeritus in 
Sociology at the 
University of 
Colorado, spoke of "how love crafted animated books for 
children." He brought a "sociologist's perspective" to his 
father's life explaining that the animated books were "a 
family product." Julian Wehr, born August Julian 
Wehrfritz in 1898 in Brooklyn, New York, had a "sad 
childhood" darkly colored by a domineering mother. He 
never finished high school but did attend the Art Students' 
League in New York. His marriage to Margarite ended in 
1932 after the stock market crash. They had one daughter 
Camilla who never was a part of his life 

The love story, however, centered on Wehr's second 
wife, Juliette (called Julie), a stalwart supporter of Julian's 
art. Julie, an art teacher herself, had originally planned to 
open an orphanage in Connecticut with money she 
inherited from her father. This plot of land would later 
benefit the Wehr family. From the beginning, art was a 
family affair. For example, Julian did woodcuts to illustrate 
the book The Island by Claire Spencer and Julie used the 
dust jacket as advertising to attract more work. Woodcuts 
and sculpture were really Wehr's first love; the areas he 
attempted to concentrate his efforts throughout his life. In 
1940 he applied for a patent on a rocker design animation 
with as many as five moving parts. Other patents were to 
follow. In 1941, when their daughter Jeanine was born 
(eldest son, David, was born in 1934), Wehr lost his job. 
The country was facing war and living in New York 
seemed dangerous, although Julian was able to produce 
some propaganda posters. Julie had begun a girdle 
business, which now also fell on hard times. The one 
resounding success was Wehr's first movable book. The 
Exciting Adventures of Finnie the Fiddler, published by 
Cupples & Leon Co. of N.Y., and printed by Duenewald, 
in 1942. Paul hypothesized that his father, whose parents 
were German, was probably familiar with the work of 
Lothar Meggendorfer and so appreciated movable 

With royalties coming in, the Wehrs packed themselves 
into their '37 Dodge and settled in rural Roxbury, Vermont 
in a home without indoor plumbing or electricity. Wehr cut 
wood for a living and received "care packages" from New 
York. Still a \oung boy, Paul remembers these times as 
excruciatingly happy having filtered out the privation sand. 

as is common with tots, unaware of the stresses on the 

Wehr's publisher, Duenewald, began demanding new 
titles, and the prolific animator brought mock-ups to New 
York. He called the animated books, "monkey books," and 
they sold well to those who had been deprived of such 
luxuries during the Depression. Duenewald Publications 
produced most of Wehr's books, doing the lithography, 
die-cuts, printing, and assembly in upstate New York. Paul 
delighted us by showing a Rube Goldberg-like cartoon his 
father drew outlining the process of making a movable 
book, from conception to market. 

A brief time in the mid-1940s would be Wehr's 
happiest days. He converted a barn to a sculpture studio 
and used teak, marble, and exotic woods for his art. This 
joy was not to last. A fire in the studio burned all but one 
piece of sculpture, Introspection, of a man from a NYC 
subway. It now sits proudly in Paul's house. The late '40s 
also brought "cooling" of the demand for animated books 
in the US. Europe's market remained better, however, and 
Raphael Tuck began publishing several titles. In the '50s, 
Wehr titles were also published in Argentina. 

Despair settled in on Julian Wehr. In 1948, on the 
Connecticut property Julie thought she would use for an 
orphanage, the Wehr's built a house. The move brought 
the grandparents, including Julian's abusive mother, under 
the same roof. The innovative animator thought to make 
movable toys but this idea never went anywhere. He 
occasionally drew family portraits as well. Down on their 
luck, Julie went to work for Stanley Home Products. 
Whatever their circumstances, Julie was uncomplaining 
and supportive. 

In 1960, the Wehr family moved again, this time to 
Deland, Florida. Julie worked as a teacher, and Julian at 
small jobs for $3 per hour. His health was flawed with a 
heart condition and emphysema. Florida's bright light for 
Julian was his ability to continue sculpting at home using 
steel, bronze, mosaics, and marble, which he began to sell. 
I le received m inor recognition in a retrospective exhibition 
at Earlham College, in Indiana. Julie wrote a book on their 
life, The Wehrwithal or Never a Dull A foment. 

The great love affair ended in 1970 with Julian Wehr's 
death at the age of 72. Julie died in 1993. The Wehr family 
has decided to reproduce their father's books, beginning 
with Snow White, the edition with movables on the 
endpapers only. Paul had several copies for sale at the 
conference book sale on Saturday. The Wehr Collection. 
Julian Wehr Animated Book Papers, 1937-1962. is 
available at the Albert and Shirley Small Special 
Collections Library, University of Virginia in 
Charlottlesville. The love-song Paul Wehr crooned tilled 
our hearts and made Julian Wehr a closer member of our 
pop-up family. Continued on page 10 

Pussy's Party 
A Dean Moveable Book 

Daveen Herley 

Port Jefferson, New York 

Pussy's Party is the title of a book published by Dean 
probably between 1857 and 1864. The title and cover 
illustration are printed in black and red on a yellowish 
board. The spine on my copy has been repaired and is of 
black tape. The back of the cover advertises new Dean 
books amongst which is a full description of Rose Merlon. 

This book includes eight illustrations of cats which are 
moved by pull tabs. The black woodcuts are hand painted 
in bright reds, yellows, blues and pinks. The text is in 
verse and describes preparations and plans for a party. 
Interestingly, Pussy's is spelled Pussies on the first page of 
the book. 

There is a "family cat" with three daughters '"handsome 
and hearty" for whom the party is planned. The guests 
arrive and all sit down to a grand dinner. The pull tabs 
move the stemmed glasses and the forks as the cats enjoy 
their dinner. Dinner is followed by dancing, the cats 
standing on their hind legs as they dance. After being 
"much warmed" by dancing, the cats break into groups for 
games of cribbage and whist. By the end of the evening the 
cats are paired with new partners, each "lady" with her new 
sweetheart with whom she strolls in the moonlight. The 
guests depart in their carriages. The next day the Tabby 
puts on a new hat and carries a gold cane and goes 

The movables are delicate and fine with one tab moving 
two or three parts of the cats as it is pulled. Rivets are used 
but I am not sure what they are made of. 

Since we know that Dean produced a movable book 
entitled The Dog's Grand Party during the same time 
period as this book, one wonders whether Pussy's Party 
was published as a sequel to the book on dogs or the 
reverse is possible. 

To my knowledge there is no listing of Pussy s Party in 
the Dean reference material but, since there is so little 
available, this is not really surprising. Even though Muir 
discusses these editions he does not list all titles. 

This article is the first in a series featuring 

books published before the 20 th century. 

Illustrated contributions are welcome. 

*> ! 

Pussy's Party 
Dean's Moveable Book 

The ptisoiw in fine then all Ml down |_ 
No one rose from bible Ihe thinner, 
Tls a Cict beyond doubt, c*'ry one bees tout. 

By rating - ■ raoeh &i the dinner. 
How they mailed and they laughed, as thorich ' Uiey 

The pussies dine 

On dancing intent, to 
And Tabby at Blanch! 
They walked up the rtj 
But Mood on their Ml 
Mbler Tmbby Tonlight | 
To be* scat when the 

d I- room Uicy went, 

glancing ; 

all fourr- And in pairs, 
, for dancing. 
* Blanche AllbutwhitB 
_ca«ed dancing. 

Dancers Mister Tabby Toolight 
and Miss Blanche Alltoowhite 

By drnring much warmed 
To sec them play cribbi| 
Bui fonr wnuld in-L-t up 
And two of Uuan loci u 
The two winner* quite mrihj 
Tucv Ifl cfry f^inte and their 

parties they formed; 
, fltJlllV , 

lying at nlitnt, 

k money; 
c ]o*erw 


looted v. ild, 

The cats play cribbage and whist 

Exhibition Biedermeier Gluckwunschkarte 
in Nuremberg 

Theo Gielen 

; ';..■'" i hi 

'— .'.vet ii- r i. fjO 

On October 28, 2004 an 
exhibition opened in the 
Germanisches Nationalmuseum 
in Nuremberg: Kaufliche 
Gefuhle. Freundschafts- und 
G liickwunschbillets des 
Biedermeier (Emotions to buy. 
Friendship - and congratulation- 
cards from the Regency period). 

This information will not 
attract the attention of many collectors of movable and 
pop-up books. Unfortunately, for in the phenomenon of 
these little cards is hidden an essential stage of the 
development of both movable and three-dimensional paper 
artwork, to my opinion, much more important for the pre- 
history of movable books than the Fuller paper doll books, 
the booklets with removable and stand-up pictures, or the 
Toilet books from the same period. 

There began about 1790 in Vienna, and to a lesser 
extent in southern Germany (Bavaria), as well as elsewhere 
in Europe, a custom in certain circles of seasonal greetings 
- long before Valentines, Christmas cards, and other 
congratulation postcards came into being. Especially 
between Christmas and New Years, people (personally) 
delivered cards to those people who they had feelings for 
and wanted to remember: superiors, high-placed persons to 
whom you ingratiated yourself, friends, (grand)parents, or 
a person who you wanted to know of your feelings of love. 

Thousands of designs of these cards, even in their time 
expensive, were produced and a substantial number of 
them were movable or even popped up. They used almost 
all the techniques that we later will find in movable books: 
pull-tabs, lift-Haps, levers, sliding panels, windows, 
wheels, tactile elements, fold-downs and fold-outs, parts 
that lift up and rise from their background, erecting forms 
that stand in three dimensions and much more. It is no 
surprise that the first really movable book and the first pop- 
up book in the mid- 1 830s came from the Viennese 
publisher H.F. Miiller, who had been one of the major 
publishers of these Gluckwunschkarten. The production of 
these cards continued until they were forbidden in 1830 by 
the city authorities of Vienna since this custom had grown 
into excesses that threatened to disturb the peace and to 
ruin less fortunate people. 

I here have been some rather unknown publications on 
the species in the German language countries where most 
of them came from though examples are known also 
from Britain. Czechoslovakia. France and Switzerland. 

The only person who, to my knowledge, has ever pointed 
out the relationship of these cards to movable books has 
been Mrs. Hildegard Krahe in her informative essay that 
opens Peter Laub's book Spielbilderbiicher (Salzburg, 
2002, p 13-15). 

As said, thousands of different designs were made but 
because of their ephemeral character they are now very 
rare and, by consequence, expensive. The Germanisches 
Nationalmuseum however appears to have some 5,000 of 
them, including a lot of movable ones. A selection from 
this collection is exhibited in the museum until January 22, 
2005 and it is a rare opportunity to see a choice of these 
movable gems from the first decades of the 19" 1 century. 
For those who cannot visit the exhibition there is an 
accompanying book publication, written by the specialist 
from the museum, profusely illustrated with mostly full- 
color pictures. Unfortunately it is only available in 

Yasmin Doosry, Kaufliche Gefuhle. Freundschafts- und 
Gluckwunschbillets des Biedermeier. Numberg, Verlag des 
Germanischen Nationalmuseums, 2004. 123 p. ISBN 3- 
936688-04-4. Euro 12.50. 

The catalog is available in the German language section of 
the museum's web page: For more 
information about ordering the catalog send email to 

Questions and Answers 

Q. Can anyone supply information about the Werner 
Laurie Show books? Evidently there were two series of 
peep show books - series A and B. Were these make-it- 
yourself books? Series A included A Rubbalong Tale. 
Series B included Nativity and Noah's Ark. A cataloging 
record for Noah 's Ark does not give a publication date but 
states that it is a "reproduction of original in the Bodleian 

Ann Montanaro 

Meggendorfer Prize Candidates 2004 

The following books published in 2002 and 2003 were 
nominated for the Meggendorfer Prize. 

• Alice in (pop-up) Wonderland. By Lewis Carroll. J.Otto 
Seibold, Illustrator. James R. Diaz, paper engineer. 

• Animal Popposites. By Matthew Reinhart. 

• Big Dig: A Pop-up Construction. By Paul Stickland. 

• Chanukah Bugs. By David A. Carter. 

• Country Music Pop-up Book. Paper engineering by 
David Hawcock. 

• Creativity: The Flowering Tornado. By Ginny Ruffher 
with paper engineering by Bruce Foster. 

• The Diary of Hansel and Gretel. Paper engineering by 
Kees Moerbeek. 

• Frank Lloyd Wright in Pop-up. Paper engineering by 
David Hawcock. 

• Great American Houses and Gardens. By Chuck 

• Harry Potter and the Chamber of Secrets: A Deluxe 
Pop-Up Book. By Joe Vaux. 

• Knick-Knack Paddywhack! By Paul O. Zelinsky with 
paper engineering by Andy Baron. 

• Macy's on Parade. By Pamela Pease. 

• Pinocchio Pop-up. Paper engineering by Massimo 

• Raggedy Ann and Andy and the Camel with the 
Wrinkled Knees. By Johnny Gruelle with paper 
engineering by Kees Moerbeek. 

Q. Lois Morrison has a Spanish language copy of 
Kubasta's The Runaways and the Robbers as well as a 
Spanish edition of one of the Catechetical Scene volumes. 
For more information about condition and price contact 
Lois at 105 Palmer Place, Leonia, New Jersey 07605. 

Membership Lists 

As of 2005 Movable Book Society membership lists 
will be printed and mailed once a year. They will no 
longer be sent following a membership renewal. 

The First Ever Pop-up Bookshop in Paris 

Theo Gielen 

Last September La Boutique du Livre Amine opened 
in Paris. It is the world's first regular bookshop that 
exclusively deals with international movable and pop-up 
books and related interesting paper novelties. 

After the success of his two exhibitions and 
accompanying catalogs of movables in recent years, the 
Paris antiquarian bookseller Mr. Jacques Desse is now 
taking a chance at opening a second bookshop in the 
Marche Dauphine. First announced as a trial for the 
holiday season, the results of the first two months were so 
good that he has decided to make a permanent specialty 
bookshop out of it. It is managed by his business partner 
Mr. Thibaut Brunessaux. 

Thibaut Brunessaux 

Marche Dauphine is a building that houses a 
conglomerate of antique dealers: on the ground floor 
mostly antiquarian furniture, pictures, curiosities, etc, and 
on the first ring a group of antiquarian booksellers. The 
building has an room where exhibitions are organized all 
year long. This Marche is part of the famous flea market of 
Porte Clignancourt in the north of Paris, a vast complex of 
labyrinthine streets and squares where you can find a 
variety of dealers of all sorts of merchandise ranging from 
the cheapest rubbish to very exclusive and expensive 
antiques and it is often compared with Portobello Road in 
London. Open on the weekends only, it attracts both 
Parisians and masses of tourists. It is a good place for a 
bookshop that seeks an international connection. 

The shop offers both new and antiquarian books. From 
the modern ones they display their extensive selections of 
collectibles from all over the world, with quality of the 
movables and pop-ups their only buying criterion. In 
addition there will be offered for sale a range of artists' 
books and other irregular projects that use movable and/or 
three-dimensional elements. International reference works 

and exhibit catalogs will also be included. Since they don't 
want to compete with the big discounters in the city that 
sell books at reduced prices, they decided not to include 
bargain books. They prefer the shop to have an upmarket 
image and, as a result, they offer all kinds of extra services 
like ordering for any title requested, an active searching 
service, personal collecting advice, shipping all over the 
world, etc. All of this is offered at reasonable prices. And. 
of course, there will be available a good stock of 
antiquarian and out-of-print movables and pop-up books in 
fine condition - as shown by the two catalogs they have 
published. Additionally there will be a modest restoration 
service, to fasten loose parts or to replace small missing 

To keep customers and other interested people 
informed, a four-page list will be published three or four 
times a year, the first of which is coming soon. This list 
can also be received by e-mail on request. A website that 
will list this information is in preparation. 

The opening hours of the shop are the same as those of 
the flea market: Saturday, Sunday, and Monday from 10:00 
a.m. until 6:00 p.m. The address: 

La Boutique du Livre Anime 

Marche Dauphine, Stand 189 

1 40 Rue des Rosiers 

93400 Paris - Saint Ouen 


Tel: 01- (during opening hours) 


US members of the Movable Book Society will have the 
opportunity to make the personal acquaintance of Mr. 
Desse since he will attend the New York Antiquarian Book 
Fair from April 29 th through May 1 st with a selection of 
rare books and antiquarian movables. 

Catalogs Received 

Thomas and Mary Jo Barron. Catalogue Fourteen. 
"Childrens & Illustrated Books." 120 Lismore Ave., 
Glenside, PA 19038. Phone: 215-572-6293. 

Jo Ann Reisler, Ltd. Catalogues 67 and 68. 360 Glyndon 
St., NE, Vienna VA. Phone:703-938-2967. Fax: 703-938- 
9057. Email: 

Henry Sotheran Limited. "Children's and Illustrated 
Books." 2 Sackville St. Piccadilly, London W1X 2DP. 
Phone: 0171 439 6151. Fax: 0171 434 2019. Email: 

What is a Movable Book? 

Peter Thomas 

Santa Cruz, California 

I love talking about 
the history and the 
future of the book. We 
live in exciting times. 
Because of the 
computer, the book has 
been freed, for the first 
time since the 
invention of the 
printing press, from 
servitude to literature. 
Now that the book is 
no longer the sole 

method of conveying information, it has been freed to 

become an object; a work of art. 

Peter Thomas 
playing his ukelele book 

At the 2004 meeting of the Movable Book Society in 
San Diego, I was scheduled to give a talk titled "The Artist 
Book: Four Dimensional Art." I decided I should put what 
I had to say in the context of the movable book. And to do 
that I was going to need to know exactly what was meant 
by a movable book. 

I contacted Ann Montanaro, who replied, "That's an 
interesting question. Several years ago an artist's 
representative called me to ask if he could bring his client 
to my house to see my books and to show me her book. 
When they visited it turned out that she had designed a 
sculpture - a kind of remote control book that moved on 
wheels - a movable book!" 

I was concerned that the obvious answer, that every 
book that is not cast in stone and anchored to the ground 
is a movable book, was not going to satisfy my audience. It 
would be too simple to say that every book moves when 
you turn the pages... 

F realized that just as the question, "what is Art?" does 
not have a simple answer, to define the movable book was 
not going to be easy, except to state the obvious, "a 
movable book is a book that moves." In the end I decided 
what might be most helpful would be to sort movable books 
into categories. 

I decided the first category would be, "not every 
movable books." This would include books with only 
covers and pages that turn as movable parts. 

The next category would include all forms of simple 
accordion books as well as books with peek-a-boo flaps. 

These would be called "sort of movable books." 

After that would come scrolling, flapping and paper 
engineered books. These would be called "really movable 

Finally there would be a category called, "Too movable 
books." This would include books that fall apart when 
touched, books that pop open and never close again, and 
books that scroll out and cannot ever be put back in... like 
our The Train Comes to Wichita. 

So what does the Movable Book Society mean by a 
movable book. 

Ann Montanaro stated in a note to me, "I have used 
movable book as a broad category to includes pop-ups, lift- 
the-tlaps, tab-operated mechanical motions, rotating 
wheels, etc, which have been added to the flat page, to the 
text or illustration, to create perspective or movement." 

I think then, that the answer can be simply stated "a 
movable book is a (typical children's) book that has been 
paper engineered to create movable parts on or in the 

The Train Comes to Wichita 

Of course there are many other kinds of movable books 
that society members are interested in. For example, 
personally, I am interested in the mechanical scrolling 
book. As the first book form, many libraries have 
wonderful examples of early Egyptian papyrus scrolls or 
Torahs and Megillahs from the Jewish traditions. I am 
mostly interested in scrolls that are housed in bindings 
where the scroll is mechanically rolled from one end to the 
other. In my talk I presented slides of about 10 different 
kinds of scrolling books Donna and I have made. I was 
also fortunate to have a historical example of a scrolling 
book from the collection of Larry Seidman. I have also 
been exploring the creation of what I call flap books. Our 
book 40 would be an example of that kind of structure. I 
would like to know if there are any other members of the 
Movable Book Society that are interested in these types of 
structures, and especially if anyone has made a collection 
of them that might contain examples I do not know about. 
If you are that person please give me a call or email. 

Movable Reviews 

Marilyn Olin 
Livingston, New Jersey 


3 = O.K. 4 = GOOD 


Why doesn't every publisher give the name of 
the paper engineer in their movable book ?!? 

Rating: 5 + 

SOCIETY. By A. Baron, A. Boehm, A. R. Montanaro, E. 
G. K. Rubin, R. Sabuda, R. Ziegler. Paper engineering & 
mechanical refinements by A. Baron & K. Olmon at 
Poprus Studio and S. Ida, M. Reinhart and R. Sabuda at 
Librum Artifex. Graphic design by A. Kalaw, A. Pena and 
E. Wilwayco. Publisher: A special limited edition of The 
Movable Book Society. Published in 2004. ISBN 0- 
9746775-0-7. $34.95. 814 x 10'A inches. 11 pop-ups. 
This is a must for any collector of pop-up books. It 
contains the movable reproductions and biographies of 
important historical people in movable books. There is also 
a new pop-up created by Robert Sabuda's studio based on 
the volvelle, created in the 1 3 th century. This book is bound 
in cloth and comes in a matching box. It is a limited 
edition, so order yours while it is still available at Click on Gift Shop and then on 
Limited Edition MBS Anniversary. Paper Eng.: Super! 

w* •■-■ ' 

Rating: 5 


Zelinsky. Paper Engineering 
by Andrew Baron. Published 
by Dutton Children's Books/ a 
division of Penguin Books for 
Young Readers. Pub.: Oct., 
2002. ISBN 0-525-46908-7. 
SI 8.99. About 25x24 cm. 14 
pages. This book was published before I started writing 
reviews, but Andrew Baron was awarded the Meggendorfer 
Award this year, and this book is one that deserves 
recognition. It belongs in any pop-up collection and will 
delight any child. The illustrations and paper engineering 
are masterful with many pop-ups, pull-tabs and other 
goodies. Paul Zelinsky, with the help of R. Sabuda, E. 
Rubin and others, found Andy Baron. He makes the song 
with his wonderful pop-ups come alive. The last spread in 
which more than ten characters move through the use of 
only one tab is fabulous and must have been extremely 
difficult to do. Paper Eng.: Creative and delightful. 

Rating: 3 

Stephen King and adapted by Peter Abrahams. Illustration by 
Alan Dingman. Paper engineering by Kees Moerbeek. 
Design by Gene Vosough. Published by Simon & Schuster 
Children's Division. Pub.: Oct., 2004. ISBN 0-689-86272-5. 
$24.95. 8.32 x 9.58. 14 pages. There are seven double- 
spread pop-ups and an additional one to two smaller pop-ups 
on almost every page. Every pop-up fan should be extremely 
grateful to Stephen King. In making this wonderful story 
about a little girl lost in the woods into a pop-up, he has 
provided the pop-up book with a real boost. Other authors 
will be encouraged to think of using pop-ups as a way to 
make their stories come alive. The pop-ups are an intricate 
part of the story and add realism to it. The illustrations from 
which they are made are beautifully done. This is not a story 
for young children but it is lyrical and written in the vein of 
a Grimm's fairy tale. Paper Eng.: Excellent, detailed and 
beautifully done. 

Rating: 4 

TIBETAN BUDDHIST ALTARS. Text and illustrations by 
Robert Beer. Concept by Tad Wise. Paper engineering by 
David A. Carter. Published by New World Library. 
Published in Sept., 2004. ISBN 1-57731-467-0. $21.95. 5 
pop-ups. There are seven double pages which open from the 
top down. This is a pop-up gallery of Tibetan traditional art 
and wisdom. The book design starts with two doors which 
open in the center. It is exciting to see David Carter do a 
different type of pop-up and do a lovely job. The authors 
encourage the reader to open the book to any figure of and 
meditate after reading the short history of the deity. This is 
not a book for children but teenagers and adults. Paper Eng.: 
Beautifully done. 

Rating: 4 Vl 

THE WHITE HOUSE. Artist/designer Chuck Fischer. 
Published by Universe Publishing/a division of Rizzoli 
International Publications, Inc. Pub.: Sept., 2004. ISBN 0- 
7893-1064-3. $35.00. About 29x29 cm. 10 pages with lots 
ofadditional inserts and pop-ups. I love this book! There are 
so many wonderful goodies in it. My favorite is The Fourth 
of July in Washington, D.C., as I rarely find a tunnel pop-up 
inside a book. There is also an origami-folded map, a great 
pop-up fan of the first ladies, a White House Christmas tree 
and best of all a double-page pop-up of the White House 
among others. Along with this the text not only gives some 
history of the White House but also a little about its 
occupants and the government itself. This would be a 
wonderful gift for an older child or adult, not only in an 
election year, but anytime. Paper Eng.: In\entive and well 

With a Song in our Hearts, continued from page 3 

We floated from our seats to the patio where beautiful 
tables were set in the California sunshine. In a flash, books 
and food were on the tables: mock-ups of work by fledgling 
paper engineers were trustingly shown to members to 
register reactions and special books members just wanted 
to share with others in our tradition of "bring show-and- 
tell." The din of happy conversation floated up like moats 
of dust into the air. 

Charlotte Johnson is like a pop-up illustration. She is 
quiet, reserved, even shy with others when covertly 
observed. But, she is only waiting to be made "interactive." 
Ask her to talk on her favorite topics, edible books and 
book sleuthing, and she virtually pops into action. Who 
would have thought the ins-and-outs of Googling could be 
so much fun? Speaking on "Movable Books on the 
Internet" and with many librarians in the room, the whole 
lecture was interactive! Charlotte coyly maneuvered 
between the terms, "networking," "appropriating," and 
"stealing." Of course, plagiarism was defined and put in its 
proper place. Tsk, tsk! She warned of searching for "pop- 
ups" without excluding the word Viagra. We hadn't 
imagined that there could be 13 million hits on the term 
"pop-up" which would also include the popular drug. If 
you want pop-up books, search for "pop-up+books," 
without any spaces. She digressed to add that putting a zip 
code into Google, will get one to local places. Finally, we 
were apprised of the term, Amazoogle. Those of us still 
with one-and-a half feet in the 20 th century had no idea we 
were crossing into another age, one with computational 
hubs made up of Ebay, MapQuest, Amazon, and Yahoo, to 
name but a few electronic catalogs. To help us completely 
cross into this new age, Charlotte provided lists of websites 
giving us virtual exhibits, museums, libraries, and personal 
websites of paper engineers, publishers, and collectors 
from around the world. Interactive, indeed! 

Am bar Past, 
our next speaker, 
is a self- 
Housewife" who 
left home "with 
the breakfast 
dishes still on the 
table." She 
certainly looked 
the real deal in a 

long peasant skirt, embroidered shirt, pigtail down her 
back, and earrings with images of Spanish saints. At age 
23, Ambar moved from the US to Meso-America, south of 
Mexico City, and lived in mud huts through the generosity 
of the native people. One could imagine her Spanish to be 
flawless. Ambar told us of the Aztec/Mayan 1,000 year old 

Ambar Past 

history of bookmaking, and that long before the coming of 
Columbus, paper was made from bark and fan-folded to 
make codices. Samples of the bark were circulated in the 
lecture room for us to feel and appreciate. In those times, 
"poets worked full-time for the gods," poetry was 
considered an "essential part of daily life," and "despite 
primitive conditions... [people] prayed to the god of 
letters." So connected were the Mayans to writing that they 
later called the Sun, "El Escribiano" - the writer. When 
the Spaniards came, they burned the natives' books. Fewer 
than 100 Aztec books exist today and only four Mayan 

Archaeological digs are continually finding 
papermaking stones, which were common household 
objects in early Mexico. The musical thread was picked up 
again by Ambar's video which played enchanting pan-flute 
music while we watched her make the book, The Lady of 
Ur, which won for Serious Content in the Stand and 
Deliver exhibition. 

We returned from a short break, complete with snacks, 
to find our lecture hall turned into a "theater-in-the- 
round." Our moderator was Audrey Goldrich who was 
gushing with enthusiasm. In her "real" life, Audrey is a 
psychotherapist who keeps pop-up books in her waiting 
room. We were being treated to a "group session" on 
"Showing One's Own Books," the ins and outs of setting 
up small exhibitions. Audrey's intent in doing exhibitions 
is "to share something [she] love[s] with other people." 
She stressed that one's collection need not be large to 
mount an exhibit. 

Audrey gave us the benefit of her experience, from the 
political pitfalls of turf wars between reference and 
children's librarians to the innovative use of multiple paper 
tablets to prop up books. Improvisation seemed the key 
element to displaying a book properly in different exhibit 
cases. She even had cleverly used rocks from her garden to 
keep open the books for a dinosaur exhibit. Displaying 
pop-up books is a "visual experience" and one must choose 
books by taking into account both the intended audience 
and the size and number of display cases the venue has to 

Audrey cautioned against leaving books open too 
long exposed to light and heat. Where she can, she uses 
S tyro foam supports to relieve stress on the spines. She tries 
to use "cripples," duplicates from her collection that may 
only have one or two pop-ups worth showing. While her 
exhibitions have not necessitated formal paper work, others 
in the room suggested exhibitors have insurance. There 
were many other suggestions by MBS members, such as 
remembering to turn off micro-chips so that the Elvis book, 
for example, doesn't continually play, "Love Me render." 
C.J. Grossman, who had produced The Hook of Chiles. 
cautioned to use chopsticks when handling her book. 


When Ann Montanaro does an exhibition, she puts 
masking tape on her home carpet the size of the shelves 
and then lays out the books. For those of us who want to 
"Shop and Share," this lecture gave us much to go on. 
Audrey's most sober take home message, not to be ignored, 
was "Make friends with the handyman!" 

We thought we were weary and at the end of the day's 
lectures. Many had already hurried to the elevators to 
freshen up for dinner around San Diego. For those of us 
who dragged our feet - and there were many - a final treat 
lay at the back of the room. Unscheduled, but hardly 
unprepared, Larry Seidman had laid out a table filled with 
never-seen-before delights. The "King of Show-and-Tell," 
Larry always has a surprise on hand. (1 once ran into him 
at a local book fair and Larry pulled from his pockets and 
various envelopes movables that made my eyes pop... and 
my collector's mouth drool.) It was Larry who offered 

Ulster's Come and 
Go with its unique 
mechanism to the 
Celebration book. 
Coupled with 
Larry's examples 
of early rivets, 
games, and 
mechanisms is an 
knowledge of 
printing techniques and publishers' histories. He pointed 
out, using examples from his collection, that Dean and 
Sons used very fine rivets around 1 850 and after 1 840, the 
rivets were often made of copper. Until 1840, many 
"rivets" were made of knotted string. He showed us free- 
standing cards of a pair of musicians, hand-colored around 
1800. The violinist was very similar to Meggendorfer's 
famous one with finely articulated limbs. For the Dean's 
Book of Games and Pastimes, Larry talked about the 
difference between stone lithography and copperplate 
printing. The ages and uniqueness of Larry's treats plus 
that extra "layer" of knowledge put the icing on our 
lecture-cake. Let's give him a formal slot for our next 
conference! We've much to learn from Dr. Larry! 

Dinner was a time for us all to relax, especially me who 
intentionally left my notepad in my room. This was the 
first conference I could remember where I really got to 
know book artists and paper engineers who were new to 
the group. At dinner, for example, was Val Van Sice a 
perky person if there ever was one. Val was the youngest 
at our table but easily held up her end of the discussion 
with those of us longer-in-the-tooth, Adie Pena, Andy 
Baron. Dagmar Kubastova, and Colleen Moore. Val's 
book, A Little Knowledge..., seen in Stand and Deliver, 
showed the depth of her maturity is belied by her 

Mill I nri r- 

Movable Musician Cards 

During lunch that first day, I had been able to continue 
my conversation, begun at the exhibition, with Shawn 
Sheehy who is working on a Masters Degree in Fine Arts 
at Columbia College in Chicago. His Welcome to the 
Neighborhood in the exhibit had originally been made of 
cereal boxes. After showing the prototype at the Milwaukee 
conference to Robert Sabuda and Matthew Reinhart, he 
made substantial changes, which he feels contributed to his 
entry being a better book. The final book used hand-made 

Saturday, October 2 

So do San Diego residents ever tire of their incessant 
sunshine? I threw open the curtains and there it was 
blazing down, smiling. And smiling too was Ann 
Montanaro, our MBS leader, ready to give her first lecture 
to the Society. How has she managed to avoid it all these 
years? I guess building on her 10 years of experience with 
MBS, she had the conference under control and could now 
turn her inexhaustible energy to preparing a talk. Of 
course, her topic, Raphael Tuck and Sons, was huge but 
her supreme research ability and organizational skills 
would serve us all well. [The full text of the presentation 
will appear in the February issue.] 

Ann had several examples of books for us to see 
and admire, originals as well as reproductions. As she 
demonstrated some of the books one could feel her awe and 
respect for the tangible objects of her talk. She concluded 
by saying that what the publishers, Raphael Tuck and 
Sons, did not have in sophistication, they made up in the 
sheer volume of unique objects loaded "with charm and 

A break was 
definitely in order now 
to absorb so much 
nformation. Our next 
speaker, Peter Thomas, 
"The Bard of Books," 
spoke with an impish 
grin giving one the 
feeling he was letting us 
in on a secret. His 
presentation style 
combined the demeanor 
of the absent-minded 
professor and a "Hey, 

it's cool, Man" hippie. Peter's "talk" would be the apogee 

of our music-themed lectures. 

There was no question that this book artist from 
Santa Cruz, California, who often collaborates with his 
wife Donna, has one life-long goal, that is, to "create 
books." He challenged us with a series of questions. "\V hal 
is a movable book?" "What is an accordion book or 
concertina?" He delighted us by "demonstrating" the 

Peter and Donna Thomas 

answers with books shaped like the eponymous 
instruments. "What is a book at all?" he queried, then 
showed his first book, a rock, called The House of Rock. 
We roared with laughter. 

His early books were "undeniably" art, continuing on to 
define the difference between art, "unencumbered by 
function," and craft, which has a function. "Until 1880," 
Peter explained, now wearing a professorial hat,"books 
were pure craft." With the arrival of William Morris' fine 
press books in 1890, we began to see the origins of artists' 
books, a phrase which didn't exist before 1980. We were 
then treated to "The Gospel According to Peter (Thomas)." 
"Due to the PC, books are now free to be art objects. " 
Books are now free of solely giving information. 

Peter sees book art as a 4-D art-form, time being the 4 th 
dimension. His books' concepts and materials are often 
totally integrated, as they were with the accordion and 
concertina books and a new book he made on the occasion 
of Donna's birthday. (He makes books for most of her 
birthdays. Lucky girl!) Based on the '60s singing duo, Jan 
and Dean, Peter took their song, "Surf City," and crafted 
with Donna a one-of-a-kind book from a woodie. (Hey! Get 
hip! He's talking about a '30 Ford Wagon. Duh!! Thank, 
G-d for Amazoogle. *grin*.) 

The "connection between the cultural and spiritual" was 
made with the Thomas' cylindric books, ones with text that 
pulls out on scrolls. Peter cited the Torah and Megillah 
(commonly known as The Book of Esther, read on Purim) 
as examples. His final book combined the movable and 
sculptural. Peter produced his A Brief History of the 
Ukulele, seen in Stand and Deliver. In the CD from the 
exhibition, Peter said, "When a book is static it risks 
becoming only a literary sculpture." The ukulele book was 
in no danger of being called a sculpture. He opened the 20 
inch-long, stringed "book" and panoramic pages fell out. 
When heclosed it, he strummed the strings and sang to the 
tune: "Has Anybody Seen My Gal?" 

What's a book? 1 used to know, 

But things have really all changed so. 

Has anybody seen my book? 

Some have pages, others don't. 
Some tell stories my mother won't 
Has anybody seen my book? 

Now if you want a book that will look 
Like most old books do. 
You'll have to go to a show, 
A museum or a library too. 

Mine is green, it has a screen, 
7 million books are in between. 
Has anybody seen my book? 

It's a computer, 

Has anybody seeeeeeeeeen my booooook? 

What an animated performance!!! 

How to segue from the "latest and greatest" to the 
"oldest and grandest"? One could worry how to recapture 
the audience's attention after such a rabble-rousing recital. 
Howard Rootenberg, who had dazzled us in Los Angeles 
with his historical books, would have no problem. As if his 
wealth of knowledge were not enough, Howard had 
brought along Kathy Donahue of UCLA's Biomedical 
Special Collections who, much to our amazement, had 
brought books we before had only seen under glass and in 
front of security cameras. 

Howard, a 
former lawyer and 
entertainer, (no, he 
didn't sing!) 
mesmerized us with 
16 th century folio- 
sized books of 
movable woodcuts 
and etchings. This 
was truly a 
booklover's version 
of "shock and awe." 
Howard expertly 
lifted flaps and 
showed layered flaps 
of illustrations often 
called "fugitive sheets." He speculated that the movable 
illustrations were called "fugitives" because originally they 
had not been bound with the book's spine and were often 

Several things made these mostly anatomical 
books popular in the 1 6 th century, such as the proliferation 
of"corner presses" making for cheap publications, and the 
public's fascination with anatomy which literally 
uncovered "the hidden wonder of the body," a veritable 
communing with G-d. Some texts were in Latin for doctors 
and medical students and others in the vernacular for 
barbers and surgeons - often the same person! And in the 
vein of "nothing ever changes," simply put, sex sells. 

I never would have thought that the Vesalius' De 
Humani Corporis Fabrica from 1543 I had seen at the 
New York Public Library would now be in my hands! The 
Fabrica, as it is known, brought "illustrated anatomy to a 
new level." Rootenberg said. A companion to it is The 
Epitome, a "condensation" of The Fabrica, material for the 
student, allowing for them to cut out anatomical parts and 
put them on other sheets. Other remarkable books present 

Howard Rootenberg 


were the Euclid Elements of 1570 with strings to make 
geometrical figures 3 dimensional, Remlin's The Mirror of 
the Cosmos-1619, and a cosmography of calendars and 
astronomy from 1456. Without benefit of gloves, I 
hesitantly touched the books, lightly running my fingers 
over the flaps as one would over Braille text, feeling for the 
edges. Howard had used fine pincers to open the flaps. 

More recent books were shown as well, including an 
early (1833) Spratt's Obstetrical Tables, a manikin book 
of large anatomical flaps - a teaching tool for doctors - 
and the most fascinating to Andy Baron, a collector of old 
phonographs, an 1888 flap book representing The 
Phonograph, A New Technology. We were all humbled by 
what we saw, were allowed to touch, and Kathy and 
Howard's daring to bring it all to us. Kathy did stress that 
all her Special Collections books were available to visitors 
who called to make an appointment. Any takers? 

Yes, lunch! As the San Diego sun heated the 
outdoor patio, conventioneers donned silly hats to keep off 
the sun. One member (c'mon and own up to it!) took 
newspaper and made "sailor" hats for those of us loopy 
enough to wear them. And there was a whole bunch of us. 
The yummy buffet gave us time to talk to those not seated 
at our tables. 

Formal lectures over, we proceeded to the hands- 
on part of our meeting, a kind of "arts and crafts" meets 
"humble pie." Admittedly this is my favorite activity BUT, 
faithful envoy to Our Leader, initials A.R.M., as in "You 
don't have to twist my ARM," I was asked to fill a gap in 
the preparations. I returned, successful from my mission, 
to hear Emily Martin, clearly the "Erma Bom beck of paper 
engineers," completing the instructions for a flexagon. I 
took an empty seat next to Shawn Seehy who took pity on 
my ten thumbs and vacant stare to bring me up to speed. 
Well, sorta. Thanks to Shawn and Ed Hutchins, "The 
Flexagon Floater," I did come away with a working 
finished product. I could tell from the satisfied expressions 
on everyone's faces all had had a great time. As we left the 
lecture room for the book sale, members carried their 
treasures in their hands like kindergarteners looking 
forward to Mommy displaying their work on the 
refrigerator door. 

OK, here is where I get to whine, briefly. Imagine 
having your first book published, a toy-book, and dreaming 
about sitting at a signing table with all your friends 
holding your book to be signed. Imagine your books never 
making it to the MBS sale. Thus was the fate of my 
llanukkah Puzzle Book (Pitspopany Press, 2004). OK. 
Wipe your tears. I'll get over it. 

I did have great pride signing the MBS 
Celebration book. No tears here! And sitting next to Kyle 
Olmon, I was able to see his moment(um) book in 

action. ..all one second of it. David Carter, Robert Sabuda, 
and Matthew Reinhart were ensconced at a table busily 
signing their latest efforts, and Paul Wehr proudly 
displayed the first reproduction - and I hope there will be 
others to follow - of Julian Wehr's animated book. Snow 
White. There were tables for book artists to sell their wares 
and chat, as well as vendors selling pop-ups of many 
vintages. The California sunshine came in handy here and 
RELAX was the word of the day! 

Running tandem with our convention was the San 
Diego Film Festival with awards to be given on Saturday 
night - tonight! I had a sighting of Phyllis Diller - no 
overlooking her! - and the rumors were the other award 
winners to be present were Cliff Robertson and Rick 
Schroder. We could see evidence of security and a large 
set-up for the band. Would our own festivities be drowned 
out with blaring music? Could we crash their party? Who 
would we see? 

Our party room cum lecture hall was transformed 
for our event, the banquet. At each place setting was the 
small version of Kees Moerbeek's Countdown to Christmas 
Roly Poly. Also gracing the tables and sideboards were 
colorful pop-up invitations to an exhibition in Houston, 
Texas, Pop-up Books: The Art of Paper Engineering at the 
Museum of Printing History, October to January 1, 2005. 
These were courtesy of Bruce Foster who found himself 
with a scheduling conflict and was desperately unhappy 
not to be able to attend the conference. As recompense, he 
sent invitations (which he had hand assembled!) for all of 
the attendees. What a guy! 

David A. 
Carter was our guest 
speaker and he began 
his slide talk with a 
photo of himself at 
about five years old 
in Western garb. The 
photo highlighted the 
question David asks 
himself before he 
starts a new project. 
"What would little 
David like?" Best 
known for his bug 
series, David told us 
outright, the series he 
started after his daughter Molly was born and earning a 
living was paramount, is finished. His newest books. One 
Red Dot. published in Spain, Japan, Italy and Korea in fall 
2004 and by Simon & Schuster in 2005. and Who's Under 
the Hat?, Ilarcourt Children's, fall 2005 leave (lie bugs 
behind and move into new territory. 

David Carter 


In terms of process, David did the artwork for the 
beginning bug books by hand. It wasn't until Bugs in 
Space in 1 997 that he fully used the computer. Drawing did 
not become his passion until at age 17 he broke his femur 
and was laid up for a year. He didn't see his first pop-up 
book until he started to work for Intervisual in 1981 where 
he started doing paste-ups. Today it may take him l'/ 2 
years to complete a book, and he works on 3-4 ideas at 
once. David "came of age" at Intervisual, privileged to 
work with Tor Lokvig, then marrying his daughter. (We 
rejoiced at seeing his pop-up wedding invitation!) He had 
the opportunity to witness the thought processes of Ron 
van der Meer, and work under the sharp eye of Art 
Director, David Pelham. It was Vic Duppa-Whyte who 
taught David the humility of seeing great ideas never get 
published. Duppa-Whyte's work was often too complicated 
to make it to publication. David admitted to many 
rejections of his projects. We, of course, only see the ones 
that get into print. He talked admiringly of Sandy Tiller 
and told us we may know her as Ruth Tilden of What 's in 
the Fridge? and other delightful movable books. 

With maturity on the job comes seeing the good 
and the bad. Being as diplomatic as he could, David 
described the rise of Intervisual as the giant in the pop-up 
field, the tandem rise of Carvajal in Columbia and 
Ecuador, and finally the decline of both. Carvajal's pop-up 
assembly plant is gone and, with Piggy Toes Press, 
Intervisual has added publisher to its role as packager. 

tabs in What 's in a Cave and What 's at the Beach?" He 
answered some questions: "What is your least favorite 
book?" Answer: What's Under There?, which he would 
love to redo; "Which book do you wish you had done?" 
Answer: the Griffin and Sabine series. "I felt envy," he 
lamented. Speaking of envy, in response to "What is the 
h ighest compliment one paper engineer can give another?" 
Carter growled, "We have to break [their] fingers!" It was 
the answer David gave to "What do you think of Kelly 
Houle's work?" Ouch! 

As David took his seat to a resounding applause, 
A.R.M. whispered in my ear that the Film Festival was 
about to get underway and that they would soon be in need 
of the lectern! Were they kidding? We were now about to 
give out our most prestigious award, the Meggendorfer 
Prize. It would be me, Ellen-from-The Bronx, presenting. 
I made it clear I had dealt with "tough guys" before and the 
lectern was NOT available until I was done with it! 
(Phyllis Diller would be getting a new wrinkle first! 
Imagine the Hilton having only ONE lectern!) 

In fact, I had two awards to give. The Meggendorfer 
Prize had been voted on by the convention attendees, after 
inspecting nominated titles. (Robert had recused himself.) 
I was thrilled to be the one to present the prize to our 
members' overwhelming choice. So I said, "and in the 
spirit of Peter Thomas..." then sang to the tune of "This 
Old Man, He Played One" 

Not one to hide reality, David showed slides of his 
work areas at home and at Intervisual; it looked like total 
chaos to us. He was very game to talk about his newest 
book, One Red Dot, which he had worked on for 7 years. 
Moving up on the art-by-technology scale, David showed 
us the video he used as a sales tool to sell the book. Now 
having squashed the bugs, he was free to do something 
"very geometric [and] sculptural... without constraints of 
art or editorial [departments]." His new firm, CD A, Carter- 
(Jim) Diaz Associates, is taking on new creative efforts. He 
was clearly soured on S&S holding back One Red Dot until 
2005 while they published Stephen King's Tom Gordon 
pop-up and Robert's A merica the Beautiful. Carter vowed, 
"I won't let that happen again." 

With the bugs squashed, at least for now, David is 
enjoying making pop-up books for adults. His Tibetan 
Buddhist Altars: A Pop-up Gallery of Traditional Art and 
Wisdom, which sold briskly at the book sale, was packaged 
by Becker-Mayer of Seattle. When asked about other ideas, 
he offered The Kama Sutra as a possibility. Did we hear 
him say he may call it •"How Many Positions in a Box?" 
(And didn't we hear Robert also ruminate about doing this 
title? I guess the maxim stands, sex sells.) 

David delighted us with arcane thoughts and inside 
"jokes" of the trade, such as, his initials hidden on pull- 

This year's book - so much fun! 

The Meggendorfer Prize is won 
by Andy Baron 
step right over here! 
KKP has won this year! 

(I come by my 
chutzpah honestly!) 

Andy, paper 
engineer for Knick- 
Knack Paddywhack!, 
was like a deer in the 
headlights and 
practically had to be 
led to the lectern. I 
handed him the mike 
for comments but, 

totally uncharacteristically, he was dumbstruck and could 

only murmur, "Thank You!" 

And a good thing, too, for now, from the corner 
of my eye, 1 could seethe henchmen waiting at the door for 
the lectern. Fat chance! We had waited ten years for this! 
I proceeded to laud, extol, and exalt Our Leader, Ann 
Montanaro. She was shocked and embarrassed and came 

Andy Baron 


to the podium in near-tears. It was a tender and grateful 
moment for all of us. Her plaque, with the MBS logo, read: 

Presented to 

Ann R. Montanaro 

by her friends from 

The Movable Book Society 


on the occasion of 

The Society's lO" 1 Anniversary 

With grateful recognition 

for her founding of the Society, 

and being a driving force in 

promoting the appreciation and understanding of 

pop-up and movable books. 

Now they could have their lectern back! 

And we went on to party to the Film Festival 
music. It had all been music to our ears, from start to 

Marian Benassi and Burt Thompson 
provided many of the Conference 

Kubasta Exhibit 

Kubasta Retrospective 

Bienes Center for the Literary Arts 

Broward County Library 

Fort Lauderdale, Florida 

January 25 - April 30, 2005 

This Kubasta exhibit, prepared by Ellen Rubin, will 
have a 150-page, four-color catalog with two reproduction 
pop-ups by Robert Sabuda, a biography, an extensive essay 
on the popular culture of his times, as well as an overview 
of children's literature in Eastern Europe. Jim Findlay, 
Bienes Center librarian, is mounting the exhibit and 
producing the catalog. A reception will be held on 
February 17at the Bienes Center where Ellen Rubin will 
talk about Kubasta's life and work. 

Frankfurt Book Fair, continued from page 1 

Bests of the Fair 

Let us plunge into the matter with the three major 
projects of the season, must-haves for any collection, in 
alphabetical order by their makers: 

Kees Moerbeek engineered the paper art work of the 
abridged edition of Stephen King's million seller The Girl 
Who Loved Tom Gordon (Little Simon, 0-689-86272-5), 
illustrated by Alan Dingman. Mr. Moerbeek told me how 
advantageous it is to work with the text from such a 
famous person. For most of his books he has been allowed 
only one sheet of paper to build his pop-ups, for this book 
he had at his disposal no less than five planes, almost 5 
square meters of paper...! The results of his paper 
engineering are great, again, and match very well with the 
atmosphere of King's story; as the illustrations did once I 
had read the texts, though they looked to me at first sight 
rather roughly done. The pop-ups greatly expand the 
pages. However they fold down perfectly and show a 
perfection of detailed engineering and packing of the paper 
masses over the whole of the book block as we saw before 
in his Raggedy Ann pop-up. Though not so loud in his 
marketing as Ron van der Meer and Robert Sabuda, we 
think him one of the best engineers of this time. A record 
breaking price of $500.00 was charged for the limited 
edition of this book [raised to $1,000 before release] (0- 

The Bulgarian master engineer Anton Radevsky finally 
got his great Architecture Pop-up Book published which 
we first saw in dummy in 1997. Unfortunately, it was the 
same year that Ron van der Meer published his 
Architecture Pack and that blocked the market for this 
subject for some years. By now, however, everyone can 
decide if my enthusiasm for this book as shown in several 
of my Frankfurt contributions to the Movable Stationery, 
proves to be right. Since the artist himself, aiming at 
perfection of his artwork, was rather critical of the first 
models he got from Ecuador, last December he flew to the 
factory to supervise the production himself. I think the very 
detailed model of the French cathedral is one of the 
highlights of paper engineering in pop-up books of all 
times. And with over 25 smaller and larger pop-ups 
enclosed, many of them hidden behind flaps, the book is a 
great value for money. It is the only one of the three major 
projects that appears simultaneously in various countries: 
in the USA from Universe (0-7893-1188-7), in Great 
Britain, with a slightly different cover (and 5 mm. 
thicker...) from Thames & Hudson (0-500-34203-2), in 
France as Merveilles de T Architecture from Flammarion 
(2-08-01 1394-1), and in Germany as Wunder der 
Architektur from Westbild Verlag, Augsburg (3-8289- 
0807-1). Italian and Hungarian editions will soon follow. 


This season's gem from Robert Sabuda is his baroque 
America the Beautiful (Little Simon, 0-689-84744-0), the 
origination of which most likely will have been followed by 
many of us on his website since we have been pointed at it 
for months by his mailing marketeers. Very American 
indeed, in all aspects, since this song isn't too well known 
outside of the States until now. Again, a wealth of paper 
artwork, done once more in white, after the colorful 
excursions of the last years in The Wonderful Wizard of Oz 
and Alice's Adventures in Wonderland. Available in a 
limited edition, too (0-689-87421-9), for $ 250.00. 

All three of these books have been published in 
tremendous numbers of copies: Kees Moeerbeek's has a 
first printing of 250,000 copies. Robert Sabuda's follows 
with 200,000 copies and though Dimitar Zlatarev, the 
Bulgarian packager of Anton Radevsky's book wouldn't 
reveal how many copies have been printed, we can imagine 
similar figures for the Architecture Pop-up Book because 
of its international co-editions. Very big business indeed. 

And they will continue with new books. Most 
mysterious proved to be the new project of Kees Moerbeek, 
of which Simon & Schuster's representative would only 
reveal to me that it has to do with film and that it will be 
the most expensive pop-up book Little Simon has produced 
until now. Three new titles in his series of Roly Poly 
books, however, will be published by Child's Play next 
year and Mr. Moerbeek also showed me dummies of how 
he has tried to make the Roly Poly format appropriate for 
museums to show parts of their collections or the works of 
one special painter unrolling partly in 3-D. 

Kibea from Sofia, Bulgaria, showed me the spectacular 
dummy of the new book of Anton Radevsky, The Wild 
West Pop-up Book, "with which he makes his boy's dreams 
come true" as his publisher said. Amongst more there is a 
great spread of a cowboy's belt, with a holster and a 
removable 3-D colt. The play set that folds out from the 
center spread to four times the size of a page (unfolded 
some 60x60 cm.) is a gem of paper engineering. Some five 
or six buildings can be lifted to form a characteristic street 
front at the north side, the opposite side has a built-in track 
for a loosely given paper train of a very nicely round 
folding locomotive, a tender and a wagon, and on the open 
space in the middle can be played with the wonders of an 
unfolding mail-coach, and a tilt-cart with a tilt from real 
linen. As a crowning sensation there is a magnificent 
three-dimensional paper-sculptured horse, stored in the 
deepened back cover, to play with or to put to the carriages, 
complete with a loose paper doll of a cowboy that can sit 
on the horse and can be dressed up with its traditional 
cowboy's outfit. A lasso is also included. All of the design. 

the illustrations, the texts and the paper engineering will 
be done by Anton Radevsky himself. No wonder the 
publishers to whom the dummy was shown were fighting 
to have this book in their catalogs next year. There was a 
lot of interest from the (European) parks that use the 
romantic Wild West theme. With this elaborate project Mr. 
Radevsky shows once again that he belongs to the very best 
of contemporary paper-engineers. 

Robert Sabuda cooperates 
with Matthew Reinhardt for 
their new project, a pop-up book 
for children, Encyclopedia 
Prehistorica: Dinosaurs, with 
more than 35 pop-ups and 
information about over 50 
different species of these extinct, 
but, by children still so beloved, 
animals. We saw a full-color 
first dummy of it at the stand of 
the London publishers of Walker 

Books who will, apparently, be publishing it in spring 2005 


By the way, last year I wondered why Robert Sabuda's 
books don't have international editions, this year I found 
the French version of \iis Alice at Seuil Jeunesse from Paris 
as Alice au Pays des Merveilles (2-02-067851-9). Could 
that be thanks to Jacques Desse who promoted the 
American edition so strongly in Paris all this year? 

Mr. Reinhardt however appears to be the most prolific 
one of the couple right now. Little Simon showed the 
dummy of his new The Ark, a pop-up book of the well- 
known Bible story done in woodcut-style, to come next 
year. And, as a result of their earlier collaboration on the 
front cover of Brooklyn Pops Up!, he is working once 
again with, to my opinion, the world's best children's book 
illustrator Maurice Sendak on a pop-up book based on 
one of Mr. Sendak's plays, with the fitting title It 's Alive. 
(That is the working title. The final book may have a 
different one). For sure this will be the sensation of next 
year's pop-up output! A sneak peek for the artwork of this 
book, done in pencil and watercolor that gives this special 
touch typical for Mr. Sendak's works, can be seen already 
on Robert Sabuda's website ( 

The magic word: Interactivity 

The tendency we put on record a couple of years, that 
children's book publishers are more interested in bringing 
out novelty books that give children a chance to take an 
active part in the "reading" of the book, rather than mere 


pop-up books, proves to have grown into a general 
publishing trend. In the words of James Diaz as noted by 
Kyle Olmon in the last number of the Movable Stationery 
(August 2004, p 1 ): '[The business] is now focusing more 
on products than pop-ups. This means designing concept 
books that incorporate fabrics, sound chips, plastics, light 
elements and anything else to bring a new look to standard 
first reader subjects like ABC's, numbers and colors." And 
also Mrs. Sheri Safran, director of Sadie Field's 
Productions, con firmed that "the market isn't too interested 
anymore in pop-up books that just fold out and stand, but 
asks for books that stimulate the "reading" child to 
participate by lifting flaps, pulling tabs, touching, feeling, 
listening, playing with added props, etc." And she made a 
comparison with the computer games that children love to 
play and that also ask for a lot of (inter-)activity of the 



IntervisuaPs Disney Princess 
J Theater from last year will be 

followed by two more such 
j triangular one-room playsets 

with different backgrounds and 
j stand-up characters: Franny 's 

Adventure Playset and The Wild 

West Playset. 

The new Robert Crowther book also fits also in this 
category: Let's Cook (Walker Books, 0-7445-9688-2) 
allows the reader to open the menu, pop the bread in the 
toaster, make a sandwich, etc. with the 20 press-out play 
pieces. Sarah Gibb's The Ballerina 's Diary (2005, Orchard 
Books, 1-84362-491-5) has pop-ups and tabs and also 
includes such sweet, pinky props as a ballet waistband, star 
pendant, earrings, tiara, and a ballet booklet. 

An uncountable number of these "interactive" books - 

in all qualities of design but mostly not too interesting for 

collectors - could be seen at the fair. I have made just a 

selective choice to introduce here. To start with there is a 

series of the best of the kind. James Diaz and Melanie 

Gerth designed and illustrated (meanwhile five) the series 

My First Jumbo Books that announce on their front cover 

to have "sturdy lift-up flaps, touch-and-feels, movable 

parts, and a pop-up, too!" (The glittering foils still miss in 

ag / / g » j - . j this catalog). The front cover 

* 'j^JI>23* ' I also states "It's totally 

. interactive!" 

Cartwheel /Scholastic 

published volumes on 

Letters, Colors, Numbers, 

hi } *t^.*i Shapes and Dinosaurs. 

Apparently there is also a 

volume on Christmas, which 

we only saw in a French 

edition at the co-publisher of the series Albin Michel, Mon 

Grand Imagier de Noel. 



5\ * " 

Firefly books showed two volumes, Animals of the Cold 
(1-55407-002-3) and Where Does it Come From? (1- 
55407-009-0) with a similar enumeration of "pull-outs, 
pop-ups, fold-outs, transparency overlays, wheels, books- 
within-books and more" and all this in each book! Without 
all such blurb but highly stimulating to activity is Simon 
Abbott's My Dream Room (Tango Books, I -85707-627-3) 
that gives the child the opportunity to design his own room 
both in a traditional or a modern way - or a mix. At the 
end of the book there is a stand up room with four possible 
wallpapers that can be furnished by slotting in the 
included, detachable furniture. Very nice indeed. 

Also full of girl's accessories are the two new bag- 
shaped books: My Sleepover Bag by Elissa Held and 
Tammy Smith (Little Simon, 0-689-87337-9), a sequel to 
last year's My Ballet Bag and announced as to include 
"more than 30 interactive elements" such as "puffy cover 
with Velcro closure, carrying handle, 1 5 pull-outs, 9 touch- 
and-feel patches, scented sticker, pizza slices, nail polish, 
a working sleeping bag, pull-tabs, pop-ups and 7 flaps to 
lift." Who can ask for more interactivity? And the second - 
being a companion to the first one - Beauty Parlour 
Handbag by Penny "Pink" Dann (Orchard Books, 1- 
84362-490-7), part of the Secret Fairy range that sold over 
1.5 million worldwide. 

Inviting the reading child to write letters or postcards 
himself are books like Penny Dann is The Secret Fairy 
Letters, another novelty in the series of the very pink 
Secret Fairies to come next year. The book has flaps and 
pop-ups and includes a stationery set and envelopes. Or 
Dear Father Christmas by Alan Durant and Vanessa 
Cabban, announced by Walker Books for next year and 
telling a Christmas novelty story that starts with lots of 
letters and questions for Santa. Each real letter and 
envelope also includes an extra gift, such as an advent 
calendar, a Christmas card, or a Christmas tree decoration. 
Piggy Toes Press brings for 2005 a similar Hooray! It's 
Valentine 's Day, a pop-up book with stickers, pen and 
postcards to send off for Valentines. And finally at Tango 
Books we found Thando MacLaren's Letters Around the 
World (1-85707-617-6), illustrated by Elizabeth and 
Catherine Pope. Real letters-in-envelopes exchange 
information between children of various continents about 
(heir daily life and at the end of the book a pen pal game 
folds out. It is pleasantly educational over all. As is the 
related title from Intervisual books Spin <£ Spell: A Book 
and Came in One by Jessica Perez and illustrated by 


Xa V'tri 

■ V'- - 

r =» 5* ij." 9 

.iscl StklTler 

Claudine Gevry. 
It is almost a 
school book in 
which five easy- 
to-read stories 
work together 
with four 
spinning letter 
dice mounted in a 
window to help 
kids practice 

spelling over 150 words. 

Another variation of interactivity includes the magnetic 
books on the market now for several years already. Just a 
few new ones: Bookmart brings Magnetic Counting Fun 
( I -84322-3 1 5-5) with 49 magnetic numbers, and Magnetic 
Dressing Up (1-84322-316-3) with 34 magnetic clothes. 
Maurice Pledger transformed his earlier pop-up beast 
books into three additional magnetic story books from 
Templar: Billy Bunny 's Forest Adventure ( 1 -840 1 1-863-6), 
Dizzy Dolphin's Ocean Adventure (1-8401 1-853-9) and 
Oscar Otters River Adventure (1-8401 1-858-X), all with 
four magnetic pages and 20 magnetic beasts held in a 
blister pack on front cover. And Axel Scheffler illustrated 
his Muddle Farm: A Magnetic Play Book ( 1 -405-020 1 4-8) 
that was published in spring by Macmillan. 

The ultimate interactivity however, the do-it-yourself 
books, missed almost completely. I have seen only a new 
How to Make Pop-up Cards from Tony Potter Publishing, 
including literally everything to make 24 cards: book, 
cards, envelopes to make, pens, ruler, glitter and glue: and 
Make Your Own Christmas Nativity (1-902915-13-5) by 
Chris Beaton, offering figures to cut out, color and glue 
together into a pop-up nativity scene. 

Movable books 

Interactive, or shall I better just say "movable" since I 
don't see any difference here, are a lot of sturdy books for 
>oung children as produced by packagers and publishers 
like Treehouse, Fernleigh Books, Small World Creations, 
Bookmart, Campbell Books, Price Stern Sloan, Intervisual 
Books, and Pinwheel (with their imprints of Gullane and 
Andromeda Children's Books). 

Treehouse Children's Books, for instance, has two 
books by David Crossley, Lamb '$ Friends and Puppy s 
Friends with handles at the sides that when pulled reveal 
more elements in the illustrations. Gerald Hawksley 
illustrated a new series of four innovative Toddler Make 
and Play Books, board books with press out model pieces 
to slot together the vehicle of the title: Patty Cow's 

Tractor, Danny Dog 's Car, Splashy Dolphin 's Boat and 
Quacky Duck 's Plane. He also did Peek-a-boo Jungle and 
Hide and Seek Farm, two books with windows in which 
figures pop up by pulling levers. A same technique of 
levers that bring by a pull hidden parts in the illustration, 
was used in Ana Martin-Larranaga's Little Pup, Tiny 
Chick and Titchy Tiger from the same publisher and 
announced as Push, Pull & Pop! series. 

The trendy well-designed catalog of the packagers 
Fernleigh Books - done in a fashionable apple green - 
offers such items as Mike Brownlow's large board book 
Move it! Builders (published by Campbell Books, 1-405- 
04882-4) full of trucks and diggers, each of them with a 
chunky scoop, wheel or arm with an easy-to-move action. 
Two sequels, Move it! Farm and Move it! Garage, will 
follow next year. 
Very nice was their 
One More Story 
that tells about a 
little bear that 
can't sleep and 
needs a bedtime 
story... or two or 
three! The book 
gives three classic 
fairytales, retold 
with a difference 

(such as Bear in Boots) and every tale includes a built-in 
mini book that tricky flips its pages by pulling a tab aside 
the page of the big book. They also offered two new board 
books with lenticular pictures on every spread: Santa's 
Busy Day: A Moving Picture Book and Peek-a-boo 
Animals. A sequel to the last one was announced for 2005 
as Peek-a-boo Teddies. 

Intervisual Books mixes up pull-tabs, lift-flaps and 
pop-up elements in Speed Machines (1-58117-323-7) 
featuring pop-up vehicles and moving gears and in I Know 
an Old Lady Who Swallowed a Fly ( 1-58 1 17-267-2). On 
Top of Spaghetti (1-581 17-331-8) i is the silly song of the 
runaway meatball that wreaks all kinds of havoc. Fiona 
Goes to Fairy School (1-58117-322-9) has additional 
glitter. Likewise will be next year's We're Bored, with a 
nice pop-up bow of books reminiscent of the bow of 
playing cards often found in A lice pop up books; and Cindy 
Big Hair: A Twisted (and Teased & Braided) Cinderella 

The new company of Inky Press from Lewes U.K., 
formed as a collaboration between the Ivy Publishing 
Group and Tony Potter Publishing, employs such paper 
engineers as Keith Finch. Andy Crowson, Corina Fletcher, 
Tony Potter, and David Hawcock. A range of movable 

books for the 
young (6+) and 
younger (3+) kids 
were announced, 
varying from a 
nice series of [ 
wish I Could Be 
books (Pirate, 
Knight, Tomb 
raider, and 
Ballerina) by 
Keith Finch that 
have a panel to 
lower (or to lift) on the front cover to reveal a first pop-out, 
and pop-ups, tabs and flaps on every page. Andy 
Crowson 's Piggy Happy, Piggy Sad and Shape City, books 
about opposites and shapes have paper engineering features 
(flaps, wheels, tactile elements and die-cuts). My new 
Nursery and It 's My Birthday, two first parts of a planned 
series of All Join In books paper engineered by David 
Hawcock. More information is available at 

The Nister-like technique of revolving pictures is 
revived in Winnie-lhe-P ooh 's Magic Wheel Book (Egmont 
Books, 1-4052-1298-5). But for me surely the most 
mollifying book of this section of movables was Night 
Night, Sleep Tight by Viviana Garofoli, published by 
Playhouse Publishing. When saying goodnight to the 
animal characters in the book, pull-tabs make each animal 
close its eyes. 

Carousel books 

As a matter of fact the demand for interactivity doesn't 
necessarily conflict with the techniques of pop-up, as 
shown by the flood of carousel books we have seen in 
recent years. The three-dimensional doll houses, castles, 
haunted houses, and play sets into which these books 
unfold. Undoubtably, 
they offer the child ■ 
possibilities to play an P^ 
active role in enlivening 1 .'fejTlvJofltltCflj 
the stage, mostly with the 
help of accompanying 
paper figures, or 
integrating his usual toys 
like playmobil, cars, 
puppets and knights - 
widening his imagination 
by creating his own 
worlds, evoking special 
emotions, and developing 
more such educational, 
motor, pedagogical and 
emotional skills. 

- ■ *■;■ "* V "■;■:.. :-- ,<■:- 

sZ&u Vv.r- ■ - *-*:■ 

No wonder that I saw again new carousel books of this 
kind in Frankfurt: Keith Moseley, in his 80s but still 
designing and engineering paper gems, succeeded in 
getting published his masterly engineered The Enchanted 
Castle with an eight-page storybook and eight pop-out 
paper dolls from Key Porter Books (1-5526-3503-1). 
Maggie Bateson, another experienced designer of well- 
loved carousels, brings a sequel to My Secret Fairy Garden 
with this year's My Fairy Princess Palace (Macmillan, 1- 
405-02076-8) illustrated in the same blue and pink colors 
by Louise Comfort aimed especially at girls. Equally very 
girlish is Princess Palace (Templar Books, 1-8401 1-235 - 
2) illustrated by Suzan 
Anne Reeves in terribly 
pink and turquoise and, 
though it has a heighth 
of almost 40 cm., 
collectible only for its 
extreme ugliness. The 
boyish counterpart for 
all this will be the 
Pirate Ship for which 
we saw a great dummy 
at the stand of Tony 
Potter Publishing. Two 
of the four 
compartments of this 

carousel, illustrated by Brian Lee and paper-engineered by 
Keith Finch, unfold in a wonderfully detailed pirate ship 
reminiscent of Kubasta's work. Frederick Warne had a 
carousel World of Peter Rabbit (0-7232-4997-0), including 
three scenes of Beatrix Potter's original tales. Kate Merritt 
designed a Santa's House (Ladybird, 1-84422-493-7), a 
board book that circles out into the cosy home of Santa and 
even Eric Hill's well-known dog finally has his own 
carousel with Spot 's Playschool: A Pop-up Book. 

Pop-up books that just unfold and stand 

As said, most of those "interactive" books are not too 
interesting from a collector's point of view. Really 
collectible books have to be viewed amongst the 
"traditional" pop-up books with their intriguing three- 
dimensional paper artwork that surprises when a spread 
opens up and when it folds down again between the pages. 
And though "the market" is said to ask for interactivity, 
there will be published a satisfying choice of nice pop-up 

At different stands we found new items designed and 
paper engineered by David Carter. Little Simon brings a 
smaller package of his Jingle Bugs (0-689-87416-2), the 
Christmas pop-up complete with lights and music. At the 
packagers Becker & Mayer was his Tibetan Buddhist 
Altars, meanwhile published by Maple free Press (1- 
5773 1-467-0), that made me think of a small collection of 
those Valentine cards published around 1900 and folding 


down also into (Christian) altars - except that its color 
scheme is very Bollywood. A dummy of a similar sequel, 
Hindu Altars: A Pop-up Gallery of Traditional Art and 
Wisdom, was also on display, as was another dummy 
engineered by Mr. Carter, Quintessential Disney: Pop-up 
Gallery of Classic Disney Moments, by Robert Tieman 
featuring five key moments from classic Disney animated 
films to highlight the most "quintessential" themes of 
Disney movies, rendered as three-dimensional ready to 
display pop-ups. James Diaz's company White Heat 
however had Mr. Carter's most intriguing new book: One 
Red Dot: A Pop-up Book for Children of all Ages, 
counting from one to ten on nine spreads (numbers four 
and five share one spread) with very complex paper 
artwork of which especially number eight strikes by the 
multiple use of rounding slice forms. A wonder of paper- 
engineering for sure and one of the most beautiful books to 
come next year! 

Another Disney title, a pop-up look at Disney World 
attractions, appears from Disney Press: Popping Up 
Around Walt Disney World: A Magical Pop-up Book by 
Jody Rcvenson, with illustrations by Tanya Reitman. 

Part 2 of this article will be in the February issue. 

Emily's Dollhouse 

Emily's Dollhouse by llisha Helfman is a pre- 
assembled, pop-up playhouse. The large house (1 lx II V* 
x 7-inches) comes with furniture that is die-cut and is 
easily assembled by placing tabs into slots, llisha, with her 
husband Joe Freedman, laser cuts the sheets and packages 
the house and furniture. For additional pictures see 

3 9088 01629 3094 
New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, internet 
sources, member suggestions, or other advertising. All 
titles include pop-ups unless otherwise noted. 

Amazing Pop-up Stand-out Dinosaurs. [Includes 6 pop-up 
dinosaur models.] By David Hawcock. Trafalgar Square. 
16 pages. $24.95. 1-4052-0801-5. 

Ancient Dwellings of the 
Southwest. Western National 
Parks Association. $16.95. 

Bible Pop-Up Adventures. 
Kregel Publications. $11.99. 

The First Noel: A Christmas 
Carousel. By Jan Pienkowski. 
Candlewick Press. $12.95 

Dinosaur Picture Pops. 16 pages. $12.95. Priddy Books. 

Doctor for a Day. DK 

Publishing. 12 pages. 



Also: Farmer for a Day. 


Thanksgiving in the Barn. 
12 pages. 8x6 little 
Simon. 0-689-85655-5